Otis Taylor’s “Cold at Midnight,” a white-knuckle ride into the very heart of worry, advances the forthcoming ‘Hey Joe Opus / Red Meat.’

Cyrus Chestnut doesn’t supercede the definitive take by Bill Evans’ Trio. Still, I found myself enjoying the new corners he and his trio explored.

The Rolling Stones’ ‘Sticky Fingers,’ released on April 23, 1971, might just be better – shhhhh! – than the far-more-heralded album that followed it.

A highlight of ‘Ultimate Sinatra,’ everything is in place on Frank Sinatra’s Count Basie collaboration “Best is Yet to Come.” And then it surprises you.

Robert Randolph helps set a new standard for improv gospel-jazz country blues supergroups. Because, yeah, they’re the only one.

Gavin Harrison’s ‘Cheating the Polygraph’ references Porcupine Tree and big band, but quickly moves well beyond those well-worn tropes.

Credit David Bowie for understanding how to cast his latest iteration. But also Chic for having the goods to make that nascent vision a reality.

John Lodge displays a welcome willingness to build a bridge to the future from a well-known foundation of the Moody Blues’ past.

Christine McVie’s absence from ‘Say You Will,’ released this week in 2003, left Fleetwood Mac critically unbalanced. They could have used an editor, too.

Crunchy where they might have been folky before, the Indigo Girls’ punchy “Happy in the Sorrow Key” simply pulls no punches.